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EN
The article shows what role the writing instruments, in particular wax tablets, used by St. Cyril the Philosopher, could play in shaping the material form of Glagolitic writing. In this research approach, writing is treated not only as a system of abstract signs, but also as their factual figure formed by a tool on a writing material. In the case of the Glagolitic alphabet, its creation was therefore both a mental and physical process involving objects such as wax tablets. The ease of engraving the shapes of new letters on a soft surface and the possibility of repeatedly erasing them allowed Cyril to experiment with their forms without consuming valuable parchment. Therefore, this process depended mainly on the material properties of the wax produced by honeybees, which was used to cover the wooden tablets designed for writing with a stylus. In this way, these insects participated in the creation of the material dimension of Slavic writing, on a par with people who took the stick from them, choosing the wax from the hives to further process it. This proves that Cyril did not force the Glagolitic letters formed in his mind onto passive material, but that beeshaped, writing wax affordances actively cooperated in this process.
EN
This article presents the shift in the ontological status and function of Ancient Greek and Roman cultural heritage undergone by Western civilization in the last decades of the twentieth and early twenty-first centuries. Antique tradition has since ceased to be transmitted simply as a system of ideas, values or role models, which was successively actualized in the process of its reception. In the post-modern consciousness, Ancient Greek and Roman heritage began to be understood as an individual collection of objects, consumed by society and adapted for the implementation of specific aims and aspirations. This shift consequentially results in the obsolescence of the investigative methodologies used in the study of the reception of antiquity, which have been adapted so far, and thus challenges us to search for more adequate ways of description and analysis of this cultural phenomenon. In light of this, the article presents a new understanding of the reception process and postulates a new research method, referring to the categories of speculative realism, theory of metadesign and the concept of Actor Network Theory (ANT).
EN
The article’s subject of interest is the language of the Travel Diary written by the Cossack hetman Pylyp Orlyk from 1720 to 1732 during a trip from Stockholm to Istanbul. The article refers to the so-called “macaronisation”, i.e. the saturation of the text with Latin and/or Italian words and borrowings from other languages, typical of Polish texts of the Baroque period. A large part is devoted to Turkish words because a significant part of Pylyp Orlyk’s journey went through the lands belonging to the Ottoman Empire in the eighteenth century.
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